Robert plant krauss dating

The million-selling album comprises country-flavored rock and rockabilly from the 1950s, with a touch of Kurt Weill's Weimar Republic-era arrangements here and there, all enveloped by Mr. The disc provided most, but by no means all, of the material for Mr. The singers' versatility was matched by the band's, which featured Mr. Plant alternating the vocal with a piercing harmonica solo. Burnett's penchant for reverb and tremolo, his and Mr. Bellerose's use of maracas, toms and sticks on the drums' rims created a pretty fair facsimile of the Bo Diddley sound and a rebuke to those who attempted to define the late musician in their eulogies by a single rhythmic pattern. Plant was in a playful spirit throughout the evening, joking through song introductions and smiling and glancing out of the corner of a twinkling eye at the reserved Ms. The duo's version of Doc Watson's "Your Long Journey" was a lovely bluegrass prayer, and in "Killing the Blues" their voices formed a flawless two-part harmony.

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-- At first blush, Led Zeppelin vocalist Robert Plant and bluegrass singer and fiddler Alison Krauss seem an unlikely pair, but they share territory on the pop landscape. Then there are the mellow, velvety smooth folk-based songs on Mr. Plant offered a decidedly country version of his solo hit "In the Mood." Fronting the band when Ms. Plant and his Zeppelin partner Jimmy Page on "Raising Sand," the band's material was a focal point of the concert -- and yet another opportunity to celebrate versatility. Krauss gave it a sly, understated reading: Though they've been playing this version for months -- you can find a performance on You Tube -- they still seem delighted by the audacity of the re-creation.

Plant's "Big Log" on her brother Viktor's album "Far From Enough" or her forays into pop with her band Union Station. Duncan's mandolin, and the two played fiddle as Mr. Though there are no Zeppelin songs and only one composition by Mr.

Plant's solo recordings or the folky side of Zeppelin, a band formed by Delta and Chicago blues. tour, which resumed here on June 2 after the troupe spent early May in Europe. She began "Down to the River to Pray" as a solo a cappella number; soon she was joined by Messrs. "Black Dog" arose from an interpretation of its guitar lick by Mr. Later, they let their voices fly during "Battle of Evermore," with Mr. "When the Levee Breaks," which Zeppelin reinvented 42 years after Memphis Minnie's version in 1929, served as a fitting conclusion to the two-hour show, with strands of country and rock flavoring the blues.

The best evidence of their commonality is the Plant-Krauss 2007 collaboration, "Raising Sand" (Rounder), produced by T-Bone Burnett. In concert, the music was a little bit looser and by turns quiet and tranquil, pounding and aggressive as the singers and their five-piece backing band tossed bluegrass numbers and several reworked Led Zeppelin songs into the mix. Bellerose, rarely did the musicians play the same instruments in consecutive songs, nor were they always on stage at the same time. Krauss sang the bluegrass gospel song "Green Pastures," she was accompanied only by Mr. They paid tribute to Bo Diddley, who died earlier in the day, by playing his "Who Do You Love," Mr.

Yet his upcoming album, ‘Band of Joy,’ has more in common with ‘Raising Sand’ than any Led Zeppelin sound.

The revived Band of Joy group — which Robert formed as an experimental blues band in the 1960s — now includes singer Patty Griffin, multi-instrumentalist Darrell Scott, guitarist and co-producer Buddy Miller, drummer Marco Giovino and bassist Byron House, according to Rolling Stone.

“It’s no longer to do with vanity, ego, and visible success,” says Robert.

with "Fortune Teller," previously recorded by the Rolling Stones and the Who but written by New Orleans' Allen Toussaint.

Calling her "the most gifted musician I know," he made it clear he relished the chance to perform at her side, all but laughing in joy after a song in which their vocals intertwined. Krauss, who is 36 years old, her voice is so pure and potent that she can control a down-tempo number by holding a crystalline note and letting it build in volume, seemingly without effort.

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